Intervistat il-Prof. Charles Briffa

Il-Professur Charles Briffa llum huwa awtur ta’ numru mdaqqas ta kotba  f’rabta mal-Lingwa u l-Letteratura Maltija, mal-Kritika Letterarja u mat-Traduzzjoni. Għallem fi skejjel tal-Knisja u ħadem fi ħdan id-Dipartiment tal-Edukazzjoni, il-Matsec Support Unit,u anki l-Fakultà tal-Arti fid-Dipartiment tal-Malti fl-Università ta’ Malta. Jaħdem fid-Dipartiment tat-Traduzzjoni u tal-Interpretazzjoni fl-istess Università.

1. Xi tgħid dwar l-importanza tat-traduzzjoni u tal-għarfien ta’ ilsna differenti llum, anki f’kuntest ta’ Malta fl-Ewropa? Xi rwol għandu l-ilsien Malti f’rabta ma’ dan kollu?

It-traduzzjoni letterarja trid l-imħabba. Imma hemm it-traduzzjoni teknika wkoll.

Mill-aħħar kwart tas-seklu 20 ‘l hawn it-traduzzjoni saret dixxiplina awtonoma għax id-dinja għarfet l-importanza tagħha u għalhekk żdied l-interess fit-teorija u l-prattika tat-traduzzjoni. B’riżultat ta’ dan l-għarfien kien hemm espansjoni globali fl-attivitajiet marbutin mat-traduzzjoni bħala att fundamentali ta’ tpartit uman. Jiġifieri żdiedet sew il-ħidma tat-traduzzjoni mad-dinja kollha. Id-diversità lingwistika tal-Unjoni Ewropea kattret il-ħtieġa tat-traduzzjoni.

Fil-ġrajja Maltija nsibu li t-traduzzjoni kellha sehem ewlieni fil-qasam soċjali sa miż-żmien l-antik, imma fejn tidħol traduzzjoni għall-Malti nistgħu nsemmu (aparti l-listi ta’ kliem li xi barranin ġabru b’interess) is-sett ta’ istruzzjonijiet militari (c.1640, bit-Taljan u bil-Malti) meqjusa li huma ta’ Thezan (miet1649) u t-Tagħlim Nisrani (1752) ta’ Francesco Wzzino (1678-1767), li kien traduzzjoni tal-katekiżmu mit-Taljan għall-Malti. Fis-sekli ta’ wara l-ħidma fit-traduzzjoni żdiedet u l-akbar biċċa xogħol li wieħed jista’ jsemmi f’dan il-kuntest hija l-ħidma ta’ Saydon (1895-1971) li ttraduċa l-bibbja mill-Ebrajk, l-Aramajk, u l-Grieg għall-Malti fuq medda ta’ tletin sena (1929-1959). U saru wkoll bosta traduzzjonijiet mit-Taljan u mill-Ingliż, speċjalment fil-qasam letterarju. Ma ninsewx ukoll li fil-parti l-kbira ta’ dawn l-aħħar mitejn sena l-liġijiet tagħna kienu bilingwi. It-traduzzjoni, mela, kellha sehem kruċjali biex tassisti l-kultura bl-importazzjoni tal-ideat u l-metodi stilistiċi, u fl-aħħar kwart tas-seklu għoxrin it-traduzzjoni fil-Gżejjer Maltin imxiet mal-bqija tad-dinja biex tgħin aktar l-għarfien ta’ ħajja kontemporanja li kulma tmur bdiet tkun aktar iffragmentata. Meta fil-bidu tas-seklu 21 dħalna fl-Unjoni Ewropea, it-traduzzjoni teknika saret ħtieġa politika u sors ekonomiku għal bosta Maltin u Għawdxin.

Imma jeħtieġ inżidu li t-traduzzjoni qiegħda tgħinna wkoll biex nesportaw ix-xogħlijiet u l-ideat tagħna għax qed isir bosta xogħol biex l-awtur Malti jinqaleb għall-Ingliż ħalli d-dinja tkun tista’ tisimgħu. Għax meta, ngħidu aħna, poeżija Maltija tinqaleb għall-Ingliż ma tibqax iddur biss mal-Gżejjer tagħna imma ddur mal-globu kollu. It-traduzzjoni twessa’ fil-beraħ l-għarfien tax-xogħol li juri xi ftit kif aħna nħarsu lejn id-dinja.

Mela, bit-traduzzjonijiet ta’ xogħlijiet barranin għall-Malti nkunu qegħdin inwessgħu l-potenzjalitajiet ta’ lsienna u nkattrulu r-riżorsi; u bit-traduzzjonijiet ta’ xogħlijiet Maltin għal xi lingwa oħra nkunu qegħdin inwasslu l-ideat tagħna għand ħaddieħor. Inżommu f’moħħna li mingħajr it-traduzzjoni l-kittieba, il-ħassieba, u l-istudjużi ma kienx ikollhom wisq influwenza fuq id-dinja. Mill-banda l-oħra, lanqas ma kien ikun sew li kieku l-qarrejja biss ta’ lingwa partikulari kien ikollhom aċċess għall-kitbiet b’dik il-lingwa għax it-tpartit u l-krossfertilizzazzjoni tal-ideat u t-teoriji kienu jonqsu ħafna.

B’dan il-għan, it-traduzzjoni bilfors trid turi d-dinamika tat-tiswir kulturali tal-identità umana. Iddaħħal l-ilsien Malti fi djalogiżmu mal-lingwi klassiċi u ma’ lingwi barranin. Il-Malti bħala lsien jistagħna bl-interazzjoni, u f’dan il-proġett l-interazzjoni qiegħda fil-livell intellettwali u kreattiv bejn id-dinja klassika u d-dinja barranija u d-dinja Maltija tal-lum. Barra minn hekk, kull traduzzjoni titfa’ perspettiva ġdida fuq it-test sors. B’hekk qegħdin ngħidu li hemm ħtieġa għat-traduzzjoni letterarja biex tinbena l-kultura, għax bit-traduzzjoni nifhmu t-teoriji, l-opinjonijiet, u l-ġrajjiet ta’ ħassieba, skulari, u kittieba f’pajjiżi u f’iżmna oħra. Fl-istess ħin awtur ta’ żmien jew post ieħor jibqagħlu d-dritt li jibqa’ jinstema’. Nemmen bi sħiħ li t-traduttur huwa vjaġġatur li jterraq minn sors għal ieħor, u li b’ħidmietu jgħinna nsawru l-għerf tagħna fuq id-dinja – tiswir li bih narmaw ruħna sew għall-futur. 

2. Kif tirrikonċilja l-attività tiegħek ta’ kritiku letterarju ma’ dik ta’ Professur fi ħdan id-Dipartiment tat-Traduzzjoni fl-Università ta’ Malta? u/jew liema jistgħu jkunu l-punti ta’ kuntatt bejn il-qasam tal-kritika letterarja u dak tat-traduzzjoni?

Iż-żewġ oqsma tat-traduzzjoni u tal-kritika letterarja jirrikjedu studju serju għall-komunikazzjoni: qari analitiku, interpretazzjoni, riċerka, u espressjoni. It-tnejn narahom mezz ta’ medjazzjoni bejn l-awtur u l-qarrej. It-traduttur u l-kritiku huma medjaturi fit-twassil tal-messaġġi tal-awturi. U l-gost ta’ dawn iż-żewġ ħidmiet huwa li, wara li jsir l-istudju xieraq, tkun trid tinstab il-lingwa sabiex tikkomunika l-frott tar-riċerka u tal-analiżi.

Illum il-ġurnata ftit huma dawk li kapaċi jaqraw ix-xogħlijiet fl-oriġinal. Hija t-traduzzjoni li trid tressqilna s-sengħa tal-kitba fil-letteratura, fil-filosofija, u fis-suġġetti l-oħra li għandha bżonn is-soċjetà tal-lum. U t-traduzzjoni trid issolvi l-problemi kulturali kkaġunati mill-bogħod taż-żmien u tal-ġeografija: fatturi li nisslu drawwiet differenti minn tagħna. Għalhekk it-traduzzjoni xi drabi tkun approssimattiva, imma l-qawwa tat-traduttur tidher fl-istrateġiji li jsib biex jibni elementi relevanti li funzjonalment jaħdmu fit-tifsir kuntestwali tat-tieni lingwa.

Ngħidu aħna, jekk nieħdu t-traduzzjonijiet ta’ xogħlijiet klassiċi nsibu ħidma li timpenja lit-tradutturi letterarji bħala forza pożittiva għas-sopravivenza tal-kitba matul iż-żmien. Il-wirt tal-ideat jinfirex u jibqa’ ħaj. Jiġifieri, it-tradutturi letterarji huma importanti għall-kontinwità kulturali. Dawn it-tradutturi huma medjaturi u interpreti interkulturali minħabba l-aspett djaloġiku. Pereżempju, it-traduttur tas-Sanskrit huwa l-medjatur tagħna li jinterpreta l-kultura Sanskrita bil-Malti li jagħżel, u biex jagħmel hekk irid jinnegoza termini ġodda fi lsienna. L-istess ngħidu fil-każ tal-Ingliż Qadim. Id-djalogiżmu jidher fil-fatt li t-traduzzjoni “timporta” u tinnaturalizza t-taħdit ta’ kulturi klassiċi bl-argumenti u t-tensjonijiet tagħhom. It-traduzzjoni titqabbel mad-djalogu ta’ kuljum bħala tpartit tal-ideat; tinnegozja l-aħjar mod biex fit-tieni lingwa t-traduzzjoni tesprimi kultura mgħoddija b’lingwa barranija. It-tpartit lingwistiku huwa djaloġiku, u fl-istess ħin hemm element ta’ innovazzjoni l-aktar minħabba li jinħolqu jew jiddaħħlu termini ġodda u jissawru sfumaturi ġodda li jingħataw lit-termini li diġà jeżistu. It-traduzzjoni hija forma ta’ komunikazzjoni u mezz ta’ kontinwità. B’hekk tassigura li test jibqa’ jgħix; jibqa’ kważi l-istess b’libsa oħra. Bit-traduzzjoni test jibqa’ jintiret. Il-komunikazzjoni ssir interkulturali u intertemporali. U t-tradutturi jagħtu forma lit-tifsir.

Nifhmu wkoll li xogħol letterarju jista’ jinqara b’mod superfiċjali jew b’mod profond. Il-kritiku letterarju jidħol jogħdos fir-ruħ tax-xogħol ħa jifhem il-moħbi u jorbtu mal-mikxuf. Dan mhux kulħadd għandu ħila jew sabar jew ħin jagħmlu, u allura l-kritiku jkun qiegħed jgħin lill-pubbliku biex jifhem aħjar. Kull biċċa xogħol letterarja tistħoqqilha l-għabiel tal-kritiku. Inħobb inħares lejn il-kritika letterarja bħala saħħara tal-qalb u l-moħħ letterarji għax ittejjeb l-għarfien ta’ biċċa xogħol hi u tgħarrex fil-ħsieb kreattiv sabiex tipprova tifhem-tfiehem mhux biexx dak li jingħaraf malajr imma wkoll dak kollu li jeħtieġ ħsieb profond u skavi li jaslu biex jippenetraw is-superfiċjali sa ma jaslu għall-qalba ta’ ruħ ix-xogħol.

Il-kritika letterarja hija differenti mill-qari tal-letteratura. Il-kritika hija diskussjoni fuq il-letteratura. Mhijiex sostitut għall-qari tax-xogħol – avolja ġieli jkun hemm min jitkellem fuq biċċa xogħol mhux għax ikun qraha imma għax ikun qara xi kritika fuqha. M’għandha ebda għan li tipprova tirriproduċi l-gost li wieħed isib fil-qari. Il-ħidma tal-kritika hija li tiskopri n-natura tal-kreattività tal-kittieb u ssib dawk l-elementi fix-xogħol letterarju li jistgħu jqanqlu diskussjoni. Il-kritiku jipprova jestendi l-medda tal-argument razzjonali dwar il-letteratura. Jiġifieri fejn hu possibbli jipprova jwessa’ l-fruntieri tal-ħsieb kemm jista’ jkun; jipprova jispjega dak li jsib, u dak li jħalli barra jħallih għax jemmen li l-effetti tiegħu ma jwassluhx għal xi argument kritiku. Il-kritika letterarja tagħti r-raġunijiet ghħall-ġudizzji tagħna. Tagħti l-valuri jew in-nuqqasijiet tal-letteratura. U b’dan il-mod allura tkun qiegħda tgħin lill-umanità.

3. Inti ktibt ukoll xogħlijiet oriġinali bħal poeżiji u novelli bil-Malti. Dan il-qasam jagħtik sodisfazzjon daqs, iktar, jew inqas miż-żewġ oqsma l-oħra li semmejna diġà?

Ir-riċerka (li jien nesponi fil-kritika letterarja u fl-istudji tal-lingwa u tat-traduzzjoni) inħobbha u l-kitba kreattiva (li jien nesponi fil-poeżiji u fin-novelli) inħobbha wkoll. It-tnejn jagħtuni sodisfazzjon differenti: tal-ewwel is-sodisfazzjoni jintrabat mal-ħeġġa tal-esploratur li jterraq f’dak li mhux magħruf ħa jagħrfu; u tat-tieni s-sodisfazzjon jintrabat mal-ħeffa tat-tajra li timraħ fil-beraħ ħieles u max-xenqa tal-artist li jrid joħloq – it-tiżwiġ tal-ħeffa max-xenqa huwa parti mill-istil mentali tiegħi.

Il-proċess analitiku tar-riċerka tiegħi huwa differenti mill-proċess artistiku tal-kreattività tiegħi. Fil-proċess analitiku meta nikteb idea nkun naf li dik l-idea nkun irbaħtilha, għax inkun sibt il-lingwa sabiex nispjegaha – jiġifieri, inkun qed nispjega xi ħaġa li ma tkunx ħarġet minni imma minn ħaddieħor. Fil-proċess artistiku meta nikteb idea nħossni li nkun ferrajt xi ħaġa minn ruħi li tkun ilha tħuf f’moħħi – jiġifieri, tkun saret parti minni. Il-proċess tat-traduzzjoni nsibu li għandu mit-tnejn: kemm mill-proċess analitiku (għax it-traduzzjoni teħtieġ ir-riċerka) u kemm mill-proċess artistiku (għax it-traduzzjoni letterarja tippermetti grad ta’ kreattività).

Fl-istudji analitiċi tiegħi x’aktarx li nipprova nuri kemm ilsienna huwa uniku; dawn l-istudji neħodhom bħala eżerċizji ta’ medjazzjoni (kif għedt) biex ngħin lill-qarrejja jifhmu aktar u japprezzaw il-potenzjalitajiet tax-xogħlijiet letterarji. Inħoss li nkun qed nagħti servizz. Kull darba li neżamina xogħol letterarju nara amalgamazzjoni tal-umanità u l-kreattività, u għalhekk nipprova nikxef xi ħaġa mill-attività, anzi aħjar mill-valenza interpersonali tal-kitba letterarja bil-Malti. Għalhekk spiss ninxteħet fl-analiżi psikostilistika. Dan kien l-għan ewlieni tiegħi f’Il-Letteratura Maltija: L-Istorja tan-Narrattiva (2008) fejn applikajt it-teorija letterarja reċenti għal xogħlijiet Maltin. L-istudji medjatriċi jgħidu: “Hekk huma l-affarijiet. X’taħseb?” Xorta jħallu l-interpretazzjoni finali f’idejn il-qarrej, imma wara ħsieb u analiżi bil-għaqal.

L-esperjenza tal-kitba kreattiva, mill-banda l-oħra, qisha bħal meta nħares lejn il-wisgħa ta’ baħar miftuħ: inkun naf li hemm żewġ ibħra quddiemi, wieħed li jhennik u jpaxxilek lill-għajnejk bil-ġmiel tiegħu, u l-ieħor li jgħajjilek dirgħajk u riġlejk biex kull qadfa tibda titqal f’għawma twila. Bħalma meta nħares lejn il-baħar ikħal ileqq fis-sebħ ix-xena tistimulali lir-ruħi ħassieba, meta nħares lejn id-djarju tiegħi (fejn inħobb inħażżeż l-ideat li jitnisslu f’moħħi) titqajjem ix-xewqa immaġinattiva profonda u jkun hemm l-għatx għas-seħer tal-kitba. Imma s-sengħa tal-kitba hija laborjuża, u negħreq l-għaraq tad-demm fiha. Fl-istess waqt hija l-iskultur li jsawwarli moħħi, u moħħi jippermettili neħles lili nnifsi minni nnifsi biex fil-proċess tal-kreattività nbexxaq possibiltajiet ġodda tiegħi nnifsi. Bħall-ispirti tal-Milied li żaru lil Scrooge: għamluh konxju tal-multipliċità tar-realtà ta’ madwaru. Bħal dawn l-ispirti, il-kitba kreattiva tiegħi tippreżentali modi ta’ awtomodifikazzjoni. Għalija l-ħelsien letterarju jintrabat mal-evoluzzjoni umana. Fl-istess ħin, il-kitba letterarja tiegħi sikwit issir djaloġika għax ma rridhiex tkun sempliċiment biċċa imbarazz mitluqa tifflowtja għal riħha f’wiċċ il-baħar tal-anonimità u bla karattru. Il-ħsieb kreattiv tiegħi għandu tendenza jissieħeb ma’ xi wħud minn dawk li ġew qabli jew dawk kontemporanji tiegħi.

4. Hemm fik ukoll l-edukatur, fil-klassi u fil-qasam tal-mezzi tax-xandir. Kemm hu importanti dan fi żmien meta donnha tispikka qatigħ il-medjokrità?

L-edukazzjoni teħtieġ ir-riċerka u l-komunikazzjoni; u x-xandir jeħtieġ ir-riċerka u l-komunikazzjoni. Mela jinxtiebhu. Nemmen li x-xandir (barra l-funzjoni tiegħi ta’ divertiment) għandu juri r-realtà u jgħallem billi jinforma. F’moħħi m’hemmx fruntieri. Jiena nħobb ngħallem mill-ftit li naf; u nħobb nitgħallem mill-istudenti tiegħi għax dawn għandhom ħafna x’jgħallmuni, tant li minn sena għal oħra dejjem inżid mal-materjal tat-tagħlim tiegħi għax kull grupp ta’ studenti huwa differenti. Ma tistax tqis lil kulħadd xorta. Għalhekk sabiħa l-edukazzjoni, għax dejjem trid tiddilja ma’ nies differenti, dejjem trid tħaddem strateġiji differenti biex tgħinhom jaslu fejn hemm bżonn. Il-ħajja ta’ għalliem għalija hija avventura kontinwa li tiddependi fuq il-psikoloġija u s-sentiment. Fl-istess ħin il-professjoni ta’ għalliem għadni nemmen li hija vokazzjoni – trid toħroġ minn ruħek bħala ħidma ta’ mħabba u dedikazzjoni.

U x-xandir (li wkoll inħobbu għax inħossni qed niddjaloga ma’ ħafna aktar nies) jagħtini ċ-ċans li nkun għalliem, riċerkatur, u kreattiv fl-istess ħin. Meta nkun live is-semmiegħa u t-telespettaturi jgħallmuni ħafna u nifhem x’bir ta’ għerf għandhom; meta jċempluli u jkellmuni fuq l-esperjenzi lingwistiċi tagħhom nieħù bosta noti biex inżidhom ma’ dak li jkolli. Meta nirrekordja l-programmi nipprova nferra’ fihom bosta tagħrif siewi u ta’ interess. Meta nkun fuq xi mezz tax-xandir, inkun konxju ta’ kull kelma li ngħid, anzi dejjem ikolli skop għaliex nuża kelma minflok oħra. Imma l-missjoni tiegħi hija dejjem l-istess: li nuri lis-semmiegħa u t-telespettaturi l-kobor tal-ġmiel ta’ lsienna. Fi lsienna hemm bir kulturali mingħajr belliegħa u mdawwal bl-ogħna ġrajjiet għax hemm ġrajja wara kull kelma Maltija – ġrajja msawra mill-antenati tagħna, ġrajja li tikxef mentalità li sawret lilna.

Il-ħidma tiegħi bħala kritiku, studjuż, riċerkatur, traduttur, kittieb kreattiv, edukatur, u xandar hija, fil-qofol tagħha, dejjem immirata sabiex inrawwem u nkabbar ir-rispett lejn il-Malti – lingwa ħajja u attwali li dejjem tikber u tisbieħ u taħżen ġo fiha għerf niesna. Għaldaqstant nipprova nagħti mill-aħjar li nista’ għalhekk nintegra l-ħidmiet tiegħi f’daqqa. Il-medjokrità x’aktarx li tiġi mix-xogħol ta’ kafkaf. Jien għadni nemmen li jekk ħidma tkun titqies siewja, għandha ssir bil-galbu u bil-għaqal biex titwassal bl-aħjar mezz possibbli lill-udjenza mixtieqa li jkun jixraqilha xogħol mill-aħjar. B’hekk inżidu r-rispett u nnaqqsu l-medjokrità.

5.Liema huwa l-ikbar sodisfazzjon għalik: dak li ġej mill-qasam strettament akkademiku jew meta tkun in kuntatt mal-poplu f’ċirkustanzi informali?

Mit-tnejn hemm x’titgħallem u fiż-żewġ aspetti l-ħsieb irid ikun meqjus. L-iktar li nħossni komdu, però, meta nkun f’qagħdiet informali għax il-ħsieb ikun aktar spontanju u naturali (imma xorta meqjus). F’ċirkustanzi akkademiċi l-ħsieb jitgħabba bl-astratt, imma anki hawn hemm is-sabiħ tiegħu għax bosta drabi l-ħsieb ikun iċċalinġjat minn oħrajn li jifhmu ħafna. Parti mill-karattru tiegħi huwa li nipprova nieħu gost kull fejn inkun, u kollox jagħtini sodisfazzjoni basta jkun hemm ir-rispett – jiġifieri, basta l-parteċipanti jirrispettaw lil xulxin u lill-ideat ta’ xulxin.

(Patrick Sammut 2013)

A poem by Teresinka Pereira

ANGEL OR DEVIL?

 

 

Angel or Devil we are

according the state of the blood

that governs our heart.

Sometimes a harmonic light

and peaceful mood from the stars

brings us a good feeling.

Then we feel good and do good.

Sometimes there are rivers of mud

flowing in the veins of the world

and we look at the heavens

with disdain and we cry.

Evil hurts us before it goes out

to bother other human beings.

The angels have always resisted

hatred.

Teresinka Pereira

Poeżija għal JUM L-OMM

F’Jum l-Omm

Fost il-jiem kollha tas-sena

għandna wieħed għażiż wisq;

dan hu ddedikat lil ommna –

għelm ta’ barka, hena w risq.

Meta Beniamino Gigli

kien instema’ jkanta l-“Mamma”

ma’ dal-globu kompla kebbes

tal-imħabba din il-fjamma.

Għax l-omm l-akbar kreatura

li teżisti fil-ħolqien;

jekk idduru d-dinja kollha

bħalha żgur ma ssibu mkien!

Bla ma trid meta tinħasad

inti tgħajjat: “Ajma, Ma!”.

U għalkemm daqsha essenzjali,

ma ssejjaħx int lill-papà!

Żgur li hemm xi ħaġa fina

li bil-wisq torbotna magħha

bħalma l-qroqqa l-ħin kollu

tgħożż ma’ djulha l-ulied tagħha.

Wara disa’ xhur ta’ tqala

d-dinja tifraħ b’twelid ġdid;

forsi mhux l-omm responsabbli

minn dil-benna, minn dal-ġid!

Meta nħossuna morda

jew imtaqqla minn xi hemm

dlonk tarana sejrin għandha

biex infittxu ftit tal-kenn.

Bl-ebda dubju ġewwa s-sema

għandna Omm bil-wisq setgħana;

toqogħdux, immela, lura –

nersqu lejha lkoll ħerqana.

F’kelma waħda xejn ma jisboq

dan l-isem sabiħ ta’ omm –

dawn il-versi minn qiegħ qalbi,

għażiż’omm, lilek indomm.

Kav. Joe M. Attard

EARTH DAY

The Earth

is an enormous home,

strong and renewable

where our dreams

and our utopia survive.

The Earth is recycled

as we are, beings

who live on the surface,

underground,

or in the cosmic space.

Viva the Earth

for the infinite treasure

it gives us!

Hurrah for everybody's Earth

and for the everyday Earth!

Teresinka Pereira

Alla Biblioteca Comunale di Venafro Allarme lingua: salviamo l’idioma del Bel Paese dove ’l sí suona

 Nell’ambito del progetto culturale “... Per nascere son nato...”, ciclo di conferenze ideato e curato da Virginia Ricci, sotto l’egida della Biblioteca Comunale “De Bellis-Pilla” di Venafro e con il patrocinio del Comune di Venafro, sabato 20, alle ore 17,00, a Venafro, Sala conferenze della Biblioteca Comunale, ingressi aperti in Via Milano e Cia Leopoldo Pilla, angolo Via del Plebiscito, Amerigo Iannacone terrà una conferenza sul tema “Allarme lingua: salviamo l’idioma del bel Paese dove ’l sí suona”. L’introduzione/presentazione è di Giacomo Gargano. Ingresso libero.

Amerigo Iannacone, scrittore venafrano, oltre che come autore e per la sua attività di promotore culturale, è noto per la sua attenzione ai problemi linguistici. Tra i numerosi libri da lui pubblicati, diversi sono quelli relativi alla lingua e alle lingue. Di particolare rilievo i due volumi “Dall’Arno al Tamigi” (Ed. Eva, Venafro, 2008, pp. 48. € 8,00) e - “… E poi il Fiume Giallo” (Ed. Eva, Venafro, 2012, pp. 92, € 9,50), due raccolte di brevi testi, che vengono mensilmente pubblicati nella rubrica “Appunti e spunti - Annotazioni linguistiche” del mensile letterario e di cultura varia “Il Foglio volante - La Flugfolio”. Brevi note, molto interessanti, ma scritte in modo, gradevole e alleggerite da uno stile brioso e spesso intriso di ironia.

Una conferenza aperta a tutti, che si preannuncia di notevole interesse.

“I DRAW STRENGTH FROM CREATION” POTIS KATRAKIS is interviewed by Zacharoula Gaitanaki

Zacharoula Gaitanaki: Dr. Katrakis, tell us about you in short. Where are you come from, what education you have, what was your occupation?

Potis Katrakis: I was born in 1930 in the village Demonia of Laconia, situated on the coast of the Laconian Gulf, a few kilometres from Cape Malea. My parents were farmers and I am the third of five children, two sisters and two more younger brothers. I attended High Scholl of Molaoi, the first classes, the seventh class in the 5^th High Junior School for Boys of Piraeus and the eighth class in the 6^th High School for Boys of Athens. I finished the Law School (University of Athens) in 1954, served as a reserve officer of Signals. In 1958 was appointed attorney in Piraeus. I dealt with practiced law until 1991 and from them until the end of 1998 served as the Head of Legal Department of the Municipality of Piraeus. Now I’m retired.

Zacharoula Gaitanaki: Many people wonder if you’re close or distant relative with our great actor Manos Katrakis. What ties you with him?

Potis Katrakis: It’s a usual question, when I mention my name because he was a famous actor. We’ve got the same surname but there is no family relationship between us. We have common roots and origins, since my ancestors started from Crete (as Μanos), went to Cythera and then to my village. I had met him and we had close friendly relations, he called me “nephew”. As far as I know him I noticed that he was a man of moral principles, ideology, put top priority on his artistic evolution, he was a bohemian, erotic and spendthrift. And so he was always penniless and in debt. Our common points with

Manos are that we started from the countryside, poor and we are self-made men. We had tenacity and dedication to work and our goals, less costly always a priority for our ides and in the second place the money, we liked the erotic and political adventures and the artistic creation. Politically he belonged to the Left and I in the Centre.

Zacharoula Gaitanaki: Since when is the beginning of your literary pursuits and what kind of?

Potis Katrakis: My pursuit with literature began in 1963, when things seem to be improving in my job as a lawyer, I made a living and I had time and I was in the mood to do something different. So I started writing my first novel “THE PERJURER” and I published it in 1966. followed by my novels: “THEY WHO DIDN’T RETURN” in 1970 and “WINDS OF VIOLENCE” in 1973. Since 1974, I was dedicated to politics and the time remaining for Literature was limited to a minimum. So I was obliged to abandon the novel that requires time and I engaged myself with the other literary works less time – consuming. Seeing that, I published in 1975 my first collection of short stories entitled “CRIES OF LIFE”. In  1976 I published my first poetry collection entitled “GUESS” and in 1977 my first play entitled “IN THE COUNTRY OF THE SUN”. Since that time I was very busy, at the same time, with my job as a lawyer, politics and literature. Until now, I have published  85 literary books (novels, short stories, essays, plays and poetry).

Zacharoula Gaitanaki: Is it necessary to have talent in order to deal successfully with the art?

Potis Katrakis: I answer this question at length in my essay entitled “POETRY, THE BIG PATIENT”. In summary I regard as talent, in the art, the pleasure that the artist feels when dealing with the art of his choice. When the artist plies only his art out of pleasure, not intended purpose and in any financial or other benefit, has talent and will go ahead. But to give a great and valuable work is needed other than pleasure (the talent) and theoretical study, great training and high intelligence.

Zacharoula Gaitanaki: You wrote essays about poetry. What are the major problems of it? Is good poetry written in our days?

Potis Katrakis: I have written three essays about the theory of poetry. The reason for my involvement was the people’s questions and my own too. The questions about what is and what isn’t poetry today, why is it written and what serves the incomprehensible modern poetry, how comes its privileged award and promotion from official and non-cultural organizations and the conflict on issues of poetry theories. As I researched to find the truth, who is right and who is wrong. I think I ended up with some correct conclusions, which I express myself in the first two and specially in my last essay entitled “POETRY, THE GREAT PATIENT”.

Zacharoula Gaitanaki: Is versification poetry?

Potis Katrakis: As I write in my last essay, the versification is one of the first forms of poetry that its roots reach Menandros, Sappho and many other past and contemporary poets.

Zacharoula Gaitanaki: The kinds of poetry have their own friends. Greeks love the traditional or the modern poetry?

Potis Katrakis: Any form of poetry of course has its own fans that support it and so can survive. Especially the modern poetry is a part of the official state such as the Ministry of Culture and publishers. However, a lot of supporters has the  understandable poetry (traditional and post modern),followers of which should reach about 95% of the total and the incomprehensible (modern) poetry is around 5%.

                                               

Zacharoula Gaitanaki: Poetry is an utopia?

Potis Katrakis: Poetry is one of the most basic and necessary forms of speech and has nothing to do with utopia. On the contrary, it achieves basic needs of life such as the creation of songs and helps the social and cultural doubts could be created only as of the form of incomprehensible and impossible to interpreter modern poetry. The poetry of dreams and the subconscious. But this form, which in my opinion should not be called poetry, but something else, is not an utopia, because the dream and the subconscious which records are a reality and pieces of our lives. And in any case, it is a difficult kind of writing that a small number of poets can deliver on its original form.

Zacharoula Gaitanaki: Tell us some contemporary poets that you distinguish for their work.

Potis Katrakis: There are many poets who made their mark in all forms of poetry, but it would be dangerous to mention names, because they are a great number who I do not know and I’ve wronged them with the omission of their names.

Zacharoula Gaitanaki: You are a member in a few of Greek literary Societies. How this participation helps an author?

Potis Katrakis: I am a member of the National Writers Association. If you are a member in a club and in smaller groups, certainly helps you to exchange views on matters of common interest, sending of demands against the State, etc. however, instead of the numerous and disparate associations with their imperfections, I think it would be preferable to have a sector only in the form of a legal entity of the public law, such as the Bar Association, the Medical Association, etc.

Zacharoula Gaitanaki: We talk a lot about suspect literary competitions. What does a prize offer to a writer? Could it be that an award is only a paper on the wall?

Potis Katrakis: Certainly the literary competitions help to distinguish some works and some writers with a considerable work. But this is in any case the relative and not the absolute. Because there is the human weakness that distorts the competitions. Because very often the awards have not the evaluative criteria, but political, though acquaintances and personal relationships from fixed competitions that are not disclosed and are not known, a thousand and one among other things. So a work that has been awarded, can never be a criterion that it is better than another work which has not got a prize. There is a presumption in favour of the winner, but that is always a relevant and a recallable presumption.

Zacharoula Gaitanaki: A great number of books published each year. Is this positive or negative? Does the quantity has a strong impact upon the quality?

Potis Katrakis: I think that the publication of many books, in principle, it is positive, because it covered more topics and more areas of examination. And because through them will be known the excellent and of timeless value books. But all the others books will have add a little stone to the structure of culture.

Zacharoula  Gaitanaki: Greeks are friends of beauty, they have sense of proportion (“Moderation in all things”) and of high causes. Have we lost all sense proportion?

Potis  Katrakis: The truth is that lately we have lost the proportion of material goods and the comfortable life generally at the expense of those positions that lead to birth rate, a rising birth rate, our offers to the public, local and the national interest, in the enforcement of the laws of the State, in the acquisition of material possessions and other goods with unorthodox means, etc. And we have many areas to re-examine our behaviour.

Zacharoula Gaitanaki:  I have some personal questions too. If I ask you to sketch Potis Katrakis with three words, what words would you choose?

Potis Katrakis: Restless, dreamer, gentle, patient. In matters of principle and ideas I’m uncompromising too.

Zacharoula Gaitanaki: What gives you strength in your life and what fills you grief?

Potis Katrakis: I draw strength from creation and I feel sadness with everything that stands an obstacle to creation.

Zacharoula Gaitanaki: What role played and plays love in your life? You have written many poems entitled “Love poems” (“Erotica”). What’s the subject matter of these poetry collections?

Potis Katrakis: The main pleasures in life are food, drink, a cigarette, the emotional love and sex. The food I was not able to enjoy throughout my life on account of the illness of my stomach. For the same reason I was deprived of drinking. Since many years I did not even taste it. Cigarette I didn’t smoke and when I tried it I felt  distaste. So my only pleasure it was love and especially its emotional element. This gave me the opportunity to spend a big part of my work in love. Six (6) collections of poetry in post modern form entitled “EROTICA” – “LOVE POEMS” No. 1, 2, 3, 4, 5 and 6 and 15 collections of poems, lyrics traditional poems (50 poems each book),  750 poems in all, a collection with 13 erotic short stories and two novel with the prevalent theme the erotic. While scattered reports there are in all my other work.

Zacharoula Gaitanaki: I have the feeling that the people of our days do not love truly. They confuse sex and love, they afraid to express their feelings, they are unhappy although they have all the conditions to be happy. What do you think?

Potis Katrakis: I can say that today there is in the general public a wild freedom, which has simplified some things and some people’s behaviours, which once seemed as taboo. And in that freedom and wealth of relationships found and the profusion of true love and more the love for the pleasure of sexual desires. And I mean what happens in the so called civilized European and American place because we have the countries in Asia and Africa, where are in other conditions.

Zacharoula Gaitanaki: How did help you the imagination? Is it prohibitive for creation and originality the routine?

Potis Katrakis: I think the imagination was the quarry from which derived the raw material for the creation of my work. As a second structural material there were the experience and adventures of life together with the imagination built the building of literature. Great source of my experiences, apart from the daily routine, is the law and policy. The routine simply deprives of you the time you need to concentrate and write. Certainly it is a source which you draw building materials. Of course, another rich source for drawing building materials was reading, but the time I could dedicate was always limited.

Zacharoula Gaitanaki: Did you encounter difficulties – and what – in publishing and circulating your books? Since the first edition (in 1966, the novel “The Perjurer”) until now, how has been changed the situation?

Potis Katrakis: Except the few books that the publishers undertake to publish at their expense, for all the other works there are great difficulties. However, by comparison with the οld days by reason of progress of printing with computer and other modern mechanical means, things have been improved, And the cost compared with the previous period has been diminished considerably.

Zacharoula Gaitanaki: How often do you go in literary and other events? Are you interested in monitoring? Do you have friend writers and poets?

Potis Katrakis: Every week I am invited to attend about ten events. As the week has only five working days and every night if I could go it would be impossible to satisfy them all. I want to go and I find the most interesting of them, but I can not go, in fact, more than one – two times per week, because there are and other important obligations.

Zacharoula Gaitanaki: Do you like any other art besides the literature?

Potis Katrakis: I have been spread so much in all kinds of literature, that although I wanted to do something else I have no time to spare.

Zacharoula Gaitanaki: What you haven’t done in your life and regret it?

Potis Katrakis: I have no regrets something. Many times, however I think if I had not done of what I did, for example not to waste so much time in politics, in the presidency of various associations etc. and to have accumulated more in the literature.

Zacharoula Gaitanaki: What do you consider the most important problem of the people of today?

Potis Katrakis: I generally consider the most important problem of the people nowadays the environmental pollution and the creation and the nuclear proliferation, the chemical and biological weapons too, which threaten to destroy our planet and create the uncontrolled disasters. But problem is  and the overpopulation of a number of Muslim countries and other people in Asia and Africa.

Zacharoula Gaitanaki: Globalization seems to drag everything in its way. As a poet, Potis Katrakis, how he resists to such and all kinds threats?

Potis Katrakis: Globalization is a serious and a complex issue and I think it is not easy for someone to give answers without preparation, without serious studies. But even though the studies that have been done, you can not be sure and safe for your conclusions, so that all the evidence to prove what and how many of the aspects are positive and how many of them are negative. As happens with all the views of life, where few prophets are verified after their implementation.

Zacharoula Gaitanaki: Are you optimistic about the future of our planet and our country?

Potis Katrakis: If the current situation continues, I am pessimistic about the fate of our planet and much more for the luck of the identity of our country’s status as a Greek. For the fate of our planet from the environmental pollution, the nuclear proliferation and of biological weapons, the depletion of raw materials, of energy and the overpopulation of Islamic and other peoples in Asia and Africa because of their overpopulation and poverty will besiege continuously either armed or unarmed the borders of Europe, to enter into and capture it with their population explosion. For the fate of our country I see to happen in the near future, the following two possibilities: the first is the nation and state to disappear and remain a memory in history, like the people who have disappeared in the depths of centuries. Throughout the  area of the Balkans and Asia Minor to prevail a sort of Ottoman Empire, which will consist the eastern part of the European Union. And this will happen according to three factors: 1) The high birth rate of Muslims that enter and will enter as legitimate or illegal immigrants in our country and other neighbouring countries. 2) The low birth rate of the Greeks and

3) The non-assimilation of Muslims into Greeks or other nations by reason of the difference of religion. The second possibility is to prevail in the Balkans and Asia Minor a Greek-speaking majority, a short of Byzantine Empire, which will form the eastern part of the European Union. This can not happen because of three factors: 1) the superiority of Greek culture, 2) the supremacy of the Greek language and 3) the supremacy of the Greek economy. Already, the undeclared and seemingly peaceful competition has begun and will intensify methodically in the future until the domination of one or the other possibility. However, things are marching with mathematical precision in the prevalence of the first possibility. Greeks will change into Muslims and Turks in the context of the European Union. Unless the appropriate authorities appreciate the fact and without regard to the political cost to take draconian measures of defence and counterattack before it’s too late. Because this would be the worst from what we could bequeath to our descendants that will be the victims of this possibility.

Zacharoula Gaitanaki: What message do you send to other people with your work, your life and with this interview?

Potis Katrakis: With my work I send a great number of messages and refer to any object, in any disciplines and all expression of life. only in the fifties poetry collections that I have published until now, there are about 4000 poems. Every poem has its own message or messages. Aside those that are contained in my prose work. Messages that refer to existential, in social, political, national, nature loving, erotic, Christian, environmental, of the family issues etc, which are impossible to enumerate. The general message is that every person must fight to survive and to create in his life something commensurate with his physical and spiritual forces who he’s endowed by nature, always putting into practice of his objectives, first the health, after the economy, later the recreation and after all to push on with the distinction among his fellow men.

ATTIVITA` OĦRA MINN VERS AGĦTINI

ID-DJALETTI FESTIVALS

Rakkonti bid-djalett, qari mil-letteratura Maltija u għanjiet Maltin

‘Qawmien u Xenqiet’

b’rikonoxximent lejn l-awturi u l-protagonisti

tal-Moviment Qawmien Letterarju – (MQL)

Nhar it-Tlieta 23 t’April, 2013

Il-Common Room tal-Università ta’ Malta

L-Imsida

Ħin: 6:30pm

- KULĦADD MISTIEDEN -

DĦUL B’XEJN

Attività oħra b’risq l-ilsien Malti - VersAgħtini IKM VO/0050

Għal iktar tagħrif: 

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